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Tom Wesselmann
Standing Still Lifes

Tom Wesselmann: Standing Still Lifes is available for online reading from August 30 through September 28 as part of the From the Library series. The publication features nine monumental works made by Wesselmann between 1967 and 1981, shown together for the first time as a complete series in 2018 at Gagosian, 555 West 24th Street, New York. Each large-scale work comprises multiple canvases, both hanging and standing, shaped according to the outlines of the commonplace objects that they depict. The catalogue features a text by Ara H. Merjian, a conversation between Michael Craig-Martin and Jeffrey Sturges, and a chronology by Lauren Mahony.

Tom Wesselmann: Standing Still Lifes (New York: Gagosian, 2018)

Tom Wesselmann: Standing Still Lifes (New York: Gagosian, 2018)

Related News

Tom Wesselmann, Great American Nude #1, 1961 © The Estate of Tom Wesselmann/Licensed by ARS/VAGA, New York

Tom Wesselmann
Digital Catalogue Raisonné

The Wildenstein Plattner Institute (WPI), in partnership with the Estate of Tom Wesselmann, announces the preparation of a digital catalogue raisonné of the works of Tom Wesselmann. The first installment will be published on the Great American Nudes series. In advance of publication, a publicly available searchable database of all works recorded by the artist’s Estate, which incorporates ongoing research for the forthcoming catalogue raisonné, called the Tom Wesselmann Digital Corpus, has been launched.

Parallel with this effort, the Estate of Tom Wesselmann, Almine Rech, and Gagosian are also pleased to announce the forthcoming publication of Tom Wesselmann: The Great American Nudes. Edited by Susan Davidson, the monograph will be the first comprehensive publication dedicated to Wesselmann’s most famous body of work, made between 1961 and 1973. The book will include full color reproductions of each artwork, as well as related drawings, studies, and relevant works from associated series.

For collectors to confirm that a work in their possession will be included in the digital catalogue raisonné, please visit wpi.art to begin the submission process.

Tom Wesselmann, Great American Nude #1, 1961 © The Estate of Tom Wesselmann/Licensed by ARS/VAGA, New York

Takashi Murakami, Kiki, 2018–20 © 2020 Takashi Murakami/Kaikai Kiki Co., Ltd. All rights reserved

Art Fair

Art Basel Hong Kong Online

March 20–25, 2020

Works by Georg Baselitz, Jennifer Guidi, Tetsuya Ishida, Jia Aili, Takashi Murakami, Mary Weatherford, Tom Wesselmann, and Zeng Fanzhi were available exclusively online. The selection was also on view in the Art Basel Hong Kong Online Viewing Rooms, accessible through artbasel.com and the Art Basel app.

Takashi Murakami, Kiki, 2018–20 © 2020 Takashi Murakami/Kaikai Kiki Co., Ltd. All rights reserved

Chris Burden, How to Shrink L.A., 1999 © 2020 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Art Fair

Frieze Los Angeles 2020
How to Shrink L.A.

February 14–16, 2020, booth C06
Paramount Picture Studios, Los Angeles
frieze.com

Gagosian is pleased to participate in Frieze Los Angeles 2020. Taking Los Angeles’s system of highways as a literal and figurative backdrop, the selection includes Richard Prince’s full-scale car sculpture Untitled (2008) and Chris Burden’s ominously oversize L.A.P.D. Uniform (1993). The booth also includes work by Jean-Michel Basquiat, John Chamberlain, Urs Fischer, Theaster Gates, Piero Golia, Alex Israel, Sally Mann, Adam McEwen, Cady Noland, Sterling Ruby, Ed Ruscha, Taryn Simon, Robert Therrien, Andy Warhol, Tom Wesselmann, and others.

To receive a PDF with detailed information on the works in the booth, please contact the gallery at inquire@gagosian.com. To attend the fair, purchase tickets at frieze.com.

Download the full press release (PDF)

Chris Burden, How to Shrink L.A., 1999 © 2020 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Titus Kaphar in his studio, touching his painting.

Titus Kaphar: From a Tropical Space

Join the artist in his studio in New Haven, Connecticut, where he speaks about his latest paintings.

The crowd at the public funeral of Reverend Dr. Martin Luther King, Jr., in April 1968. Photo by Moneta Sleet Jr.

Now available
Gagosian Quarterly Fall 2020

The Fall 2020 issue of Gagosian Quarterly is now available.

Nathaniel Mary Quinn in his studio

Nathaniel Mary Quinn: In the Studio

Hear the painter describe the creation of a new work in this time-lapse documentation of his process.

Theaster Gates in his studio

Theaster Gates: Black Vessel

Join Theaster Gates in his studio as he prepares for an upcoming exhibition at Gagosian, New York. In this video, shot on location in Chicago during the tumultuous weeks of protest in late spring 2020, Gates reflects on the metaphorical power of materials and process, and on the redemptive potential of art.

Gregory Crewdson, Red Star Express, 2018–19, digital pigment print, 56 ¼ × 94 ⅞ inches (127 × 225.7 cm)

Gregory Crewdson: An Eclipse of Moths

Gregory Crewdson discusses his new work with actor Cate Blanchett.

Mary Weatherford, Orion’s Belt, 2016, Flashe and neon on linen.

Mary Weatherford: Train Yards

Mary Weatherford speaks to Laura Hoptman about her new paintings, the Train Yard series. Begun in 2016, this body of work evokes the sights and sounds of railroads and night skies. The series will be shown for the first time in late 2020, in an exhibition at Gagosian, London.

Louise Bonnet in her Los Angeles studio, 2020

Louise Bonnet

Filmmaker and author Miranda July joined Louise Bonnet on a video call to discuss life during lockdown, the luminosity of oil paint, and Bonnet’s forthcoming exhibition of new work. Longtime friends—and newly neighbors—the two reflect on their shared history and shared interests in the unconscious, vagueness, and the mixture of humor and pain.

Ed Ruscha, At That, 2020, dry pigment and acrylic on paper.

“Things Fall Apart”: Ed Ruscha’s Swiped Words

Lisa Turvey examines the range of effects conveyed by the blurred phrases in recent drawings by the artist, detailing the ways these words in motion evoke the experience of the current moment.

Photo: Moneta Sleet, Jr., 1965. Johnson Publishing Company Archive. Courtesy Ford Foundation, J. Paul Getty Trust, John D. and Catherine T. MacArthur Foundation, Andrew W. Mellon Foundation, and Smithsonian Institution.

Theaster Gates: Black Image Corporation

As a prelude to his first-ever solo exhibition in New York, Theaster Gates discusses his prescient work with the photographic archive of Chicago’s Johnson Publishing Company and his formation of Black Image Corporation as a conceptual project. In conversation with Louise Neri, he expands on his strategies as artist and social innovator in his quest to redeem and renew the sacred power of Black images and Black space. 

Jay DeFeo working on The Rose (then titled Deathrose), photographed by Burt Glinn in 1960.

Jay DeFeo

Suzanne Hudson speaks with Leah Levy, executive director of the Jay DeFeo Foundation, about the artist’s life and work.

Henri Matisse, The Music Lesson, 1917, oil on canvas, domestic interior scene of people in the livingroom at the piano, reading chair, and window

Lockdown: Henri Matisse’s Domestic Interiors

John Elderfield reexamines Matisse’s Piano Lesson (1916) and Music Lesson (1917), considering the works’ depictions of domestic space during the tumult of World War I.

Helen Frankenthaler, Cool Summer, 1962, oil on canvas, 69 ¾ × 120 inches (177.2 × 304.8 cm), Collection Helen Frankenthaler Foundation.

Building a Legacy
The Helen Frankenthaler Foundation on COVID-19 Relief Funding

The Quarterly’s Alison McDonald speaks with Clifford Ross, Frederick J. Iseman, and Dr. Lise Motherwell, members of the board of directors of the Helen Frankenthaler Foundation, and Elizabeth Smith, executive director, about the foundation’s decision to establish a multiyear initiative dedicated to providing $5 million in covid-19 relief for artists and arts professionals.